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am 3. Juli 2000
After earning a masters degree in piano performance from a major conservatory, I struggled for years with debilitating performance anxiety and frustration, to the point where I changed careers and moved into the corporate world for 15 years. The practice techniques and disciplines which Madeline Bruser so clearly describes in this book enabled me to recapture my earlier love and enthusiasm for music and performing, and have put me on a path toward "playing from the heart," which has led me among other things to a decision to return to teaching and performing again as a career. This book is written in a simple and straightforward style. The author is not dogmatic about her ideas, but rather, deals with the physical and emotional aspects of playing music at a basic and fundamental level. Ms. Bruser's own credentials as a pianist and teacher are impressive. The research she cites -- interviews and collaboration with numerous professional musicians and teachers, experts in posture and movement (Alexander, Feldenkreis), and medical professionals, are partly what attracted me to this book, as did the praise for this book from musicians such as Peter Serkin, Yehudi Menuhin, and Richard Stolzman -- all impeccable sources in my opinion. When I first found this book, I couldn't put it down. I felt like I had found an oasis from my musical struggles, and hope for resolving them. If you are a musician, former musician, or aspiring musician, this book will be a source of encouragement and creative ideas. I highly recommend it!
0Kommentar|7 Personen fanden diese Informationen hilfreich. War diese Rezension für Sie hilfreich?JaNeinMissbrauch melden
am 9. April 1999
I greatly regret that I should have read this book long long years ago ! I have seen many music students teachers who completely lack the most important things that the book describes. And I think that any musican-want-to-be should read this book first. This is the "Road Less Travelled" equivalent in psycology of musical practicing and performance. Her explanations were inspiring. Very often they were too conceptual. OK. That sounds very nice, but what is it exactly, and how do we achieve it ? Fortunately, at the end of each chapter, there is a section called "Questions and Answers". I think that the questions are from her students. And the questions were more "practical" ones rather than conceptual. And answers were very good. She provides 10 steps (suggestions) for practicing. Most of them are quite reasonable. Some of them may not be applied to me. However, it may be because I am still musically immature (far from her level) comparing with her.
0Kommentar|5 Personen fanden diese Informationen hilfreich. War diese Rezension für Sie hilfreich?JaNeinMissbrauch melden
am 28. Mai 1999
For a while, I was in an uninspired musical slump. I still practiced, but it wasn't fun anymore, and as a result, the time I spent wasn't very effective. This book gave me many ways to freshen up my practice sessions and make them more enjoyable and more productive. It is very easy to read, and one afternoon spent with it can make a world of difference for your music-making.
0Kommentar|2 Personen fanden diese Informationen hilfreich. War diese Rezension für Sie hilfreich?JaNeinMissbrauch melden
am 22. Dezember 1997
If a musician could only read a single book to learn about how to PREVENT injury, this would be the one. Madeline Bruser has assembled, from a host of resources terrific practical advice that does far more than help you find a healthy approach to using your instrument: The Art of Practicing also examines how to bring the highest level of artistry and communication to your playing. It includes question/answer sections throughout and instrument-specific advice. I really can't say enough about this book: if all teachers and students would take its guidance to heart, we would not have the levels of injury among musicians we now see, and music making would be both more human and humane.
0Kommentar|Eine Person fand diese Informationen hilfreich. War diese Rezension für Sie hilfreich?JaNeinMissbrauch melden
am 27. Oktober 1998
Chock full of great stuff, but much too wordy and repetitive. The anecdotes never end. In addition, one or two suggestions are outrageous. Too bad, with so many sound ideas and well needed ergonomic advice!
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am 22. Februar 2016
Dies ist eins der sehr guten Bücher über das Üben und Vortragen von Musik; Musikern, besonders klassischen Musikern, kann ich es sehr empfehlen. Meine Perspektive auf Musik ist fast ausschließlich die des Zuschauers und Zuhörers, und das Buch hat mir viele wertvolle Einblicke in die Welt der Berufsmusiker gegeben, die mich jetzt Konzerte anders betrachten und genießen lassen.
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am 8. April 2016
sehr gut geschrieben und es kann praktisch verwenden. leichte sprache und mehr fokus auf innere kentnisse von die sachen was benutzt werden.
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am 14. Mai 1999
Madeline's indepth observations of the human experience in learning the art of music are unparalleled. She keenly and with pinpointed accuracy shares with the reader what he will face in the process of learning music. And, more importantly, she presents insight on possible ways to deal with and overcome those trying times. As an adult student with only one year of piano behind me, I wish I had read this book earlier. I definitely would have learned to be more patient with myself or at least would have been more understanding of what was happening to me in the process of learning. In any case, I have a brand new and refreshing approach to my continued learning process now. Thank you very, very much.
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